»S 635 
.Z9 E59 
1891 
Dopy 1 



%^ 



51. THE 




D 



Ji^ :M:ELODi^^:iyc^. 



REVISED. 



sf 



SI, THE TRAMP: 



(A MELODRAMA.) 
RE VISED. 



WM. F. ENSIGN. 



LAID IN SAN FRANCISCO 
TIME, 1880. 



^-^.^\rV of Co;^- . 



NOV 10 ^ / 



"Wm M. Hinton & Co., PitiNiTiis, San Francisco. 
Ib'JJ. 






Entered According to the Act of Congbeps in the Year 18'JO 

By Wm. F. Ensign 

in the office of the librarian of congress, at washington. 

[All Bights Reserved.] 



Entered According to thr Act of Congress in the Yeau IS'Jl 

By Wm. F Ensign 

in the office OF the Librarian of Congress, at Washington. 

[Ail Rights Reserved.) 



TWP96-0C7237 



SI THE TRAMP. 

(A MELODRAMA) 

By WM. F. ENSIGN. 



DRAMATIS PERSONiE. 

James Clayton, o Banker and Guardian of Grace Saville. 
Allen Drake, alias Clarence Meadows, James Cluyton's Con- 
fidential Secretary. 
Detective Spinner. 
Si, The Tramp. 

MuGGS, a Wandering Minstrel. 
GiP, a Gamin. 

Albert Clayton, Jr , known as "Prince," a waif. 
Max Shin bourn. 
Jimmy Hope. 

Grace Saville, ivay^l of James Clayton. 
Mrs. Drake, a nurse. 
Emily Jordan, a maid, 

^li^""' \ "Chippies" 
k Mabell, ) ' ^ 

Mrs. Bloomtield, landlady of the Home for the Weary. 

Cashier, Teller and Clerk in James Clayton's Bank. 



Anna 
Clara 



PROLOGUE. 

Scene — Interior of James Ciayton's Banking House. 2'ime, 
three o'clock P. M. Clayton and Clarence at their desks in private 
office; Cashier, Teller, Clerk and customers at counter in banking 
room. 



SI, THE TRAMP. 



Clayton — "Clarence, will you bring me my private box from 
the vault?" 

Clarence goes to vault and re(urui< with box, places it on Clay- 
ton's desk, starts to return to his oxen. 

Clayton — "Clarence, during- my absence I wish you to reside 
at my house, with my family. At the bank you will have full 
charge of my private affairs." 

Clarence — "Your pleasure will be but a duty I owe to my 
benefactor and employer." 

Clayton — "You will also supervise the general affairs of the 
bank; the Cashier will consult with you in all its business de- 
tails. Have you finished the correspondence you were engaged 
upon?" 

Clarence— "Not quite, but will soon be done." (Returns to 
his desk.) 

Clayton opeiis the box, taking out a locket and a letter. 

Enter Spinner {B. F. E., through banking room into private 
office. To Clayton) — "Good afternoon." 

Clayton [rises out of hvi chair; lie and Spinikeb. shake hands) — 
"I am very glad to pee 3'ou." 

Spinner — "I received your note requesting me to call, and I 
have done so, hoping my oldest friend is not involved in any- 
thing of a serious nature." 

Clayton — "Be seated, and I will explain as briefly as possible, 
trusting you can attend to the affair." 

Spinner (seating himself, takes out a note-book) — "I will be 
pleased to render any service in my power." 

Clayton — "My son Albert, as you know, married against my 
wishes. After a stormy interview we parted, and never met 
again. I recently learned that shortly after we separated his 
wife was taken ill and died, leaving Albert sick and with a baby 
boy to provide for. He soon followed his wife to the grave; the 
child disappeared, a waif in the crowd of a great city. This 
locket contains Albert's photograph" (shows the locket), "and is 



SI, THE TRAMP. 



a duplicate of one Albert placed on the baby's neck, and will be 
the strongest clue to the child's indentity. Its counterpart I 
hope you may find, and with it my grandson." 

Spinner (who had been making notes in his book) — "I will do 
all in my power to find the boy, and hope to be successful. 
Where did you learn the child was last located?" 

Clayton — "With a poor Irish woman on Telegraph Hill; but 
this was some years ago. For years the woman had been in the 
City and County Hospital, speechless from a stroke of paralysis. 
Just before she died she recovered her speech, and begged the 
attending physician to bring me to her, as she had something of 
importance to communicate." 

Spinner — "Do you remember what time in the year this oc- 
curred?" 

Clayton — "I think" (pauses) "in May; the last of the month." 

Spinner (making notes in his book) — "What was her name." 

Clayton— "Ellen McCabe." 

Spinner — "About how old would the boy now be; and can 
you give me the color of his hair and eyes?" 

Clayton — "He would be about fourteen, his hair light-brown 
and curly, his eyes blue." 

Spinner (still making notes in his book) — ^"Of course you accom- 
panied the doctor to the woman's bedside." 

Clayton — "Yes; and there I learned for the first time Albert's 
sad end. It seems that he drifted down the road of poverty to 
absolute want. At last he found a home with this j)Oor but 
warm-hearted woman. He left with her this note," (holds up the 
note) "which, on account of her illness, I did not receive until 
recently." (Reads the note pathetically.) 

"Dear Father: These few lines from one who has never for- 
got the love due to his father will be handed to you by the good 
woman with whom I have found a shelter. I pray you to take 
charge of my poor boy; he will soon be fatherless and friendless 
in this world. I am dying, but no friend is near, with loving 
eye and voice, to cheer the fluttering spirit on its heaven-ward 
bound career. It has been said, the saddest word that falls 



SI, THE TRAMP. 4 



uj^on the ear is that one word, 'farewell.' But, soon to number 
with the dead, then sadder far the long fare-well unsaid. 

"God bless you, 

"Good by, "Albert." 

[ Pause. ] 

"Oh! Albert, Albert! the son I loved and lost." 
[Pau!^e.] 

^piNSER {his voice Ir-embling) — " What information did she give 
you regarding the boy, and when did she last see him?" 

Clayton — "None, but what I have already given you. She 
had been ill so many years that all trace of the boy was lost." 

Spinner — "Then, the description you have given was when 
he was a small child. Did you learn what name he was 
christened?" 

Clayton — "Certainly, and that from the memory of the poor 
woman; he was named Albert, after his father. I will intrust 
to your care the locket" (liands Spinner the lockel), "and promise 
you a liberal reward if you find the bo}'. I leave for Europe in 
the morning; therefore, my time is limited for arranging my 
business affairs. I will leave you my address, in case you should 
wish to communicate with me." [Hands him a card.) 

Spinner {putting hix note-book in hi^ pocket and risiv<j) — 
"Thanking you for your confidence, I shall endeavor to solve 
this mystery. Wishing you a pleasant voyage and a safe return, 
I will bid you good-by." 

Clayton rising, lakes Spinner 6i/ the hand and accompanies him 
to the door, E. F. E. {Exit Spinner.) 

Clarence {had been apparently writing, when Clayton reads Al- 
bert's U'tler, glances at them with a sneering look. While Clayton 
is at the door with Spinner, he looks up) — "His heart has been 
wrung with sorrow, too, leaving it as soft and tender as a 
woman's. Mine! was left so cold that I repay my shame with 
the full measure of my hate, on trusting — confiding man." 
{Turns to Jtis xcork.) 

Clayton {returning) — "Clarence, you will notify the employes 
in the bank to be here promptly in the morning. I wish to give 



SI, THE TRAMP. 



them special directioris before I leave." {Takes the box from his 
desk and goes into the vault.) 

Clarence (closes his desk, steps forward) — "Then will be my 
time, while he is absent. I'll make money! If I fail — well, 
Canada is not far off." 

Clayton (returning from vault) — -"Clarence, will you dine with 
Grace and myself this evening? Then I will show you the rooms 
you are to occupy." 

Clarence — "Oh, thank you; it will be a pleasure to accept 
your invitation." (Exit Clayton by door, R. F. E ) 

Clarence — "Ah, everything is playing into my hand; I must 
make the most of the opportunity, and win Grace for a wife." 
(Goes into the l)ankirig room avd appears to be speaking to Cashier, 
Teller and Clerk in turn.) (Exit Clarence, E. F. E.) 

The Cashier, Teller and Clerk proceed to put the money and 
books into the vault; while they are doing so. 

Curtain. 
A la2:)se of ten, months between the Prologue and First Act. 



ACT I. 



Scene — Corner of Market, Kearny and Geary streets. Time, 
half-past twelve o'clock a. m. Several peopjle passing through the 
streets. 

Enter PmacE (JR. D. S., with pail of hot water, and what repre- 
sents tamales in it. ) 

[Singing:] 

"Tamales, tamales, tamales, 
They're hot in the pot 
And done to a dot, 
My fresh, my chicken tamales." 

(Stops on the corner, the peoj)le buy and then go on their way.) 

"Beyond all doubt, I've sold out." 

(Exit Prince, L. U. S.) 



SI, THE TKAMP. 



Enter Anna Stark and Clara Mabell. 

Claka — "Let's give tbem printers up there" (motionft iowardn 
the ' CHiiomcLE' bnildiurj) "a serenade an' shake er spell on 'em — 
See?" {Leans carelessly acjainsl the lamp-posl and sings:) 

THE CHIPPY. 

I They sa}' I'm a tough, but what do I care, — 

WheD dres't in my best you'll soou be aware 
That I'll go as I lalease, you bet that I dare 

Take all that's my own. All I'll ask what's fair— 
For I'm a high rolling "Chippy" when out on a tear. 



Waltzeti 



2 When oi.t for a walk, to get the fresh air, 

The dudes on the corner they'll give me a stare; 
Then a smile, such a smile, with their "ah there!" 

But I know their smiles is all guile and a snare 
For I'm a high rolling "Chippy" when out on a tear. 

[ Waltzes.] 

3 The joyes of this life can be found anywhere, 

So where ever there's fun I'll get my full share — 
At all the picnics you'll find I am there — • 

I'm the Queen of the dance my friends all declare, 
For I'm a high rolling "Chippy" when out on a tear. 

[Waltzes. \ {^-^yi^e-tA^yCf ^i^^x.^e<., a^^iA ^^Cct/iM..j 

Enter Spinner a\Hl GiP L F. E. 

Spinner — "Gip, you lay around this corner; a couple of g-ents 
will meet here; overhear their conversation and rejDort to me 
to-morrow." 

Gip — "Cap, you kin put de peg in as der clock hits der bell. 
I isn't a' winkin'." 

Spinner — "Be careful, lad." 

{Exit Spinner, R. F. E.) 
Gip — "I'z tired, I'll take er snooze." 

{Doubles up in second doorway, L. U. S.) 

Enter Clarence {R. D. S.) — "I'm in a deuce of a fix. James 
Clayton returns home in a few days; then my shortage will be 
discovered. Shinbourn has some scheme; he will shortl^^ come 



SI, THE TRAMP. 



out of the club-room. I must see him. He wants money. I 
want safety." 

Enter Mrs. Drake veiled, L. D. H., turii^ R. U. S. 

Clarence (ffl.s- s/i6;;asses /^^/?^)^"H'm ah!" {Following, touches 
her on the shoulder.) "Miss." 

Mrs. Drake {turns, throws back her veil) — "Allen Drake." 

Clarence {with a start) — "You here, I left you in Deaver." 

Mrs. Drake — "Yes, and in the eye of the law, your wife. But 

the love that once filled my soul for you is dead — died when our 

child died. Gro! You are nothing to me!" 

Clarence — "Bah! my wife? What you supposed was a mar- 
riage was only a farce." 

Mrs. Drake — "I can prove it by this ring" {shows ring on her 
Jinger) "and my marriage certificate." 

Clarence — "Give me the riag" {seizes her by the wrist) "and 
certificate. We are alone; I will kill you to get them!" 

Mrs. Drake {struggling) — "Help! Help!" 

Enter Prince {L. D. S.) — "I heard a woman's voice calling for 
help; where is she? Say you, let go!" {Strikes Clarence on 
thi breast, who staggers back, letting go of Mrs. Drake.) 

(Exit Mrs. Drake, B. U. S.) 

Clarenci-: strikes Prince over the head with his cane. Prince 
falls to the ground. In falling a small locket becomes exposed at- 
tached to his neck by a chain; Clarence bends over and observes 
Ih" locket. 

Gip rises out of a doorway, goes to and peers around the corner 
at them. 

Clarence — "A locket! I will see what it contains." {Opens 
the locket.) "Albert Clayton's face! This must be his son! 
For his interference in my affairs, I'll secure this, and destroy 
all proof of his identity." {Breaks the chain, and puts locket in 
his pockei. ) 

Gip goes up behind Clarence, and stumble.^ over him; rise.s and 
holds up the locket. {Exit Gip, R. F. E.) 

Clarence rises, exit R. F. E. 



SI, THE TRAMP. 8 



Enter Si {E. D. S., observes tlie prodrafe man, slooj)>< and looks at 
him)— "Ahl Prince, the tamale vender, poor fellow! Some 
drunken brute has done this. I will help him to his room be- 
fore a cop comes along and runs him in." (Prince revives and 
is helped to his feet and supported off bj/ Si.) 

(Exeunt Si and Prince, B. V. S.) 

Re-enter Clarence {E. F. E.) — "I must have dropped the locket 
on the ground." {Looks for it.) 

Enter Gip {L. D. S., turns corner) — "I say, mister, gimme a 
nickel for a coifeeV" 

Clarence (fiercely) — "Get out of here, you ragamuffin." 

Gip — "S'pose I'z ragged. I don't roll a drunk, looz der swag, 
an' go ter clawing in der mud fer it." 

Clarence — "See here, boy, what do you know? Come here. 
Here is some money for you." (Shows money.) 

Gip — "Frow it 'ere; I ain't der kid to let yer get yer claws on 
ter." 

(Sings:) 

"Fer yer er so very kind, 

In yer mind, in yer mind." 

(Ends with a mocking laiif/li.) 

Enter Sim^iioviis (B. D. S., htughing) — "Ha! ha! lia! Clarence 
Meadows, having a bout with Gip, one of the smartest gamins 
in the city. Ha! ha!" 

Clarence (a/Hyri/;/) — "You need not be so merry; I have had 
too much to annoy me to-night." 

Shinbodrn (to Gip) — "Take this." (Throws him a piece of money.) 
"Now, get out of here, you young Arab." 

Gip (catches the piece, hoks at it and bites it) — "Gov, I'll see yer 
later." 

Exit Gip, E. U. S. Wldle Muggs is singing, he returns and hides 
in cellar-ioay on. the corner. 

Enter Muggs (L. D. S., drunk and singing) — 



SI, THE TEAM P. 



"Once I was a landlord's pet, then I had money to spend; 
I spent it in driuk, and verily did think 
It never would come to an end. 
But now I have nothing but rags to my back, 
My boots won't hide my toes-o-oes, 
The crown of my hat goes flip, flop, flap, 
Boys laugh at my rum-blossom'd nose." 

{Speaks)— ''That's SO!" 

(Gazing stupidly around, discovers Shinbourn and Clarence; 
staggers up to them.) — "Could I speak to you? If I bad twenty- 
five cents, I could get a bed," (aside) "or five schooners." (Holds 
up his hands with fingers extended.) 

Clarence (gives him a, piece of money) — "Now go." 

MuGGS (staggerutg away) — "I always knew you were a gentle- 
man." (Liioks at the money.) "The money is good, au3'how." 

Exit MuGGS (R. F. E., singing) — "Tlje crown of my hat goes 
flip, flop, flap" — 

Shinbourn — "You look worried; what's up?" 

Clarence — "My wife is in the city; I just met her." 

Shinbourn — "Very likelj^; she lives over on Stevenson street. 
If she should find you out, you would be in a nice fix." 

Clarence — "She shall never know." 

Shinbourn (aside) — "He is in a desperate mood; I will spring 
the game on him." (To Clarence) — "I see that James Clayton is 
on his way home. He will miss his bonds." 

Clarence — "What do you mean? What do you know about 
the bonds?" 

Shinbourn — "Oh! your position is plain. No man can place 
fourly or fifty thousand dollars in wild speculation on twenty-five 
hundred a year." 

Clarence — "Ah! then you know?" 

Shinbourn — "Yes; you have but one way to safety." 

Clarence — "And that?" 

Shinbourn — "You have the combination to the vault at the 
bank, I believe?" 

Clarence — "Certainly; but what of that?" 



SI, THE TRAMP. 10 

Shinbourn — "Just this; give me the combination, and I will do 
the rest." 

Clarence — "Oh! I see; it's burglary you propose." 

Shinbourn — "Say it easy; you having appropriated part of the 
funds in the day-time, I take the balance at night, thereby cover- 
ing your defalcation." 

Clarence (asif/e) — "The first gleam of hope; but I must not 
consent to readily." {To Shinbourn) — "Suppose I refuse to be- 
come the accomplice of a burglar?" 

Shinbourn — "This, from you? Yes; in the mad hour when the 
brain tottered on its throne, I fell — fell — as the eagle falls, when 
his tired pinions refuse to longer bear him on his upward flight! 
He falls to the ground — an eagle still. The world never for- 
gives. You the accomplice of a burglar! Bah! such as you I 
use not mate with. Give me the combination, or to-morrow I 
will have you denounced as the friend who betrays his friend's 
trust. As the man who wooes, wins, weds, then deserts a young, 
confiding girl, leaving her in poverty, helpless and alone. You 
made your choice then; you can choose now." 

Clarence — "A well-told-tale; doubtless true. But you need 
not be so bitter; you press me hard." [Taken out a pencil and 
card ; vjrUeti on card and hands it to Shinbourn.) "Here is the 
combination, but there is a time-lock on the door." 

Shinbourn — "That!" (snapn hin fingers) "for your time-luck." 

Clarence — "Well, make sure work of it. Come, show me 
where my wife lives." 

Shinbourn — "NO! I do not war on women." 

{Exit Shinbourn, L. U. S.) 

Clarence {mockingly) — "A knavish fool, or foolish knave, 
which? He'd use me, while I attain my ends by using him. 
As though there was a difi'ereuce in vultures, our prey's the 
same — mankind." {Exit Clarence, B. F. E.) 

Grip {coming out of cellar xvag) — "I'm on der racket. I'll be in 
der swim. Si, an' me er'l per-tect der duc-ats. I'll tote ter der 
ranch fer sul-tation," {Starla logo.) 



SI, THE TRAMP. 11 

Re-enter Clarence (catches hold of Gip) — "You youug rascal, 
where is the locket j'ou stole out of my pocket?" 

Gip — "Hey, you want to wreck a feller's close? Wot yer talkin' 
about? I ain't got nawfin er yourn." (Struggles.) 

Enter Si (R. F. E , catches hold of Clarence and shakes him) — 
"Let go your grip on the lad; you hear me?" (Gives him a 
push; Clarence goes doivn on one hand and knee.) 

Gip (breaks away, dancing ai'ound and sparring at Clarence; as 
Clarence recovers himself, Gip stops) — "Oh, I say, did yer, did 
yer ever go er bobbin fer eels?" (Jerks liis head to one side.) 
"See?" 

Curtain. 



ACT II. 



Scene 1 — Parlor i.n James Clayton's Mansion. Time, seven 
o'clock p. M. 

Grace Saville at piano, playing the waltz, "A Friend of Mine." 
Clarence in easy chair. As the music ceases, Grace turns from the 
piano. 

Clau^^ce (rises a) id goes to her) — "Grace, when will you give 
me the 'Yes' that makes me more than a friend — the 'Y'^es' that 
will make you my wife, and me the happiest of men?" 

Grace — "Clarence you know by the terms of my father's will 
I cannot engage myself until I am of age without my guardian's 
consent." 

Clarence — "But, Grace, you will be of age in a few days, and 
your guardian will give his consent on his return." 

Grace — "Do not urge me, Clarence; it gives me as much pain 
as it does 3'ou disappointment that I cannot answer you now." 

A knock at the door. 

Enter Maid, hands Grace a card. (Exit Maid.) 



SI, THE TRAMP. 12 



Gkace {/'fads rtird, luraing in Clarence) — "Excuse me, Clar- 
ence, there is a lady waiting, with whom I have an engagement. 
I must bid you good-night.' 

Clarence^ — "Good-night. " 

{Exit Grace.) 

Clarence — " I feel her answer will be the 'Yes' I seek, but I 
must wait for her guardian's return." {Stops in tliought for a 
moment.) "Now for my wife. By a stroke of good luck I've found 
out where she lives; I must silence her — if not by fair means, 
then by foul." (^i;i/ Clarence.) 



Scene 2 — A room in a Jorlgin(/-]iout!)\ Tinie, eight o'clock p. m. 

Enter Si {by door B. U. S.) — -"I do not know why I take such 
an interest in this poor woman. I will leave the provisions for 
her. I know she needs them." {PIace)< them on the table, and 
stejjs to th" store.) "The wood is almost gone. I will go and get 
some." {Exit Si, by door R. U. S.) 

Enter Mrs. Drake {liglds the lamp, discorer.'< the jyorisions on 
the table) — "Why, my guardian angel has been here. I wonder 
who it can be? They have saved me from starvation more than 
once." {Tarns to the .^tore.) "There is only wood for morning; 
I will have to eat a cold supper." {Seats herself at the table.) 

A knoel- at the door. 

Mrs. J)'b.\k-e, {rises and goes to the door, and opens it) — "Allen 
Drake! What do you want here?" 

Enter Clarence {pashing Mrs. Drake to o)ie side) — "My dear, 
it's a long time since you had the pleasure of my company." 

Mrs. Drake — "The pleasure of your company was but an- 
other name for a woman's folly, which to soon changed to sor- 
row. When you deserted me and our babe, leaving us in poverty, 
the child sickened, wasted away from want and died. Kind- 
hearted angels of charity nursed me back to life, but in my 
heart there was nothing left for you but a woman's hate." 



SI, THE TRAMP. 13 



Clarence — '=Be it so; now to the purpose of my visit. You 
must give me the certificate of our marriage, and the ring with 
my name engraved upon it, Jeave for some secluded place in the 
East, and forget you ever knew me. I will furnish you with 
money to begin life anew. The minister who married us is dead; 
his house caught fire, burning up all the records and leaving 
nothing but his charred remains to mark the spot of my folly." 

Mrs. Drake {sfrjjs up Id him and (jdzcs in his /(ti-c irilh a look' of 
horror) — "You fiend!" 

Clarence [laiKjhs itiochrnghi) — -"Think what you please; the 
dead give me no trouble." 

Mrs. Drake — "Have you no heartV Had you ever a mother's 
care?" 

Claee^ce {>far1i< hack) — "Had la mother's care? Y^es, a kind, 
gentle mother; one upon whom the world frowned, shunned and 
spurned, for no sin of hers. It broke her heart, she died, and 
as I turned from her grave my heart was stone; it never warms, 
it never will. But I've no time to give to the past. I'm here to 
enforce you to comply with my terms." 

Mps. Drake — "Do you know what you ask — what it is for a 
woman to surrender all that guards her honor? Never will I 
surrender the only proof that stands between you and some other 
woman's ruined life. No! not while life lasts shall you be free!^' 

Clarence- — "Then life shall not last long." {He cd/chrs he/- hij 
flic throat, they striiyyh', she appears to be dead; he places her on 
the lounge.) "Where can she keep her papers? Perhaps in this." 
(Ne talcH a leatlter bag from Iter ivaiM and opens it; tales out some 
papers.) "Ah, here it is." {He strikes a match, lig]ds the paper, 
throws tlieni on the stove hearth, looks toioards the lounge.) "My 
dear, burnt papers, like dead men and women, tell no tales." {He 
then takes the ring from her finger, looks at it.) "At lastl am free.'' 
(Goes to tlie door, looks back, returns to the table.) "I will upset 
the lamp, set fire to the house, destroy all evidence of this, and 
who's to know?" {While speaking lie upsets tlie lamp, lai/s a .string 
dipped in oil to it, lights the string.) {Exit Clarence by door B. 
U. S.) 



SI, THE TRAMP. 14 



Enteral (hi/ door Tl. U.S., irifli .sv/r/' of icood; obserrcs ihc lamp 
and fin' rrrejiin;/ /o the oil: hiifs doicii IJic irood mid ('.rfingidsJustJie 
tin'; fai'('>< a candle from. Ilir iii((idcl-.-<li('l/, liijh/s it, discorrrs Mrs. 
Drake apparridbj di't(d) ^"There is murder here! who has 
done this? See the mark of cruel tiDgers on her throat!" {Feels 
Iter pi(l.<;e.) "Ah, there's a feeble throb. I must start the blood 
in circulation." {Taken from an in>>ide pocket of his voat a small 
case (f suTf/ical instruments, selects a lance, uncorers her arm, cut- 
ting a flesh colored tube connected to a rubber bulb filed n:ilh a red 
fluid, and flien rubbing her arm, while she, pressing on, Uw bulb, 
causes the fluid to flow cut, giving the ap2warance of bleeding. She 
shoivs sigiis of life, and he hastily bandages her arm, taken out a 
.^mall vial.) "This will give her strength." (He pours a few 
drops into a glass of water, and gives it to her. Her breathing be- 
comes regular. lie Jielps her to her feet, supyporting her with his 
arm.) "She lives! Lives for retribution, for justice!" 

Curtain. 



ACT III. 



Scene 1 — Oflice and bar in the "Home for the Weary." Time 

ten o'clock p. m. Landlady in the bar, sereral lodgers in die room. 

Enter Gip and Prince by door It. 2d. E. 

Prince — "Si isn't here; we will have to wait for him." 

Gip— "We kin take in der place till he comes." (Gip and 
Prince sit dincn and appear to be talking.) 

Enter Mdgos (/>// door B. 2d. E., drunk, carrying a jug and sing- 
ing) 

"Spare, oh, spare this jug; 
Oft times it's warmed the heart" 

{Speaks) "of Muggs." 
{Staggers up to the bar.) 



SI, TBE TRAMP. 15 

"Mrs. Bloomfield, I hope j'ou're quite well — 
I'm all broke up, aud have had a bad spell" 
(Pauses.) 

"Tve traveled far, am very tired and thirsty, too," 
(Pauses.) 

Would you give me a drink on my I. O. U?" 

Mrs. Bloomfield — "Muggs, it's no go; but if you will sing a 
song, I'll treat for old acquaintance' sake." 
Muggs— "All right." (Siiu/s ) 

THE ONE, AND THE OTHER. 

"They're born the same, the rich, the tramp, 

As you must certainly know, 
Tho' living apart, they end the same, 

As I will surely show. 
The rich they go on a journey afar, 

A tramp comes jogging behind; 
The rich they ride in a gilded car, 

A tramp on the baggage, blind. 
ChoruH — Tho' his coat is ragged and torn, ' 

His hands are grimy with dirt — 
The coat can cover a heart that's warm, 

Tho' his hands are unwilling to work. 

The rich wear clothes from a tailor, so grand, 
A tramp wears what he can get. 
The rich wear hats with silken bands, 

The tramp's is made out of felt. 
The rich they dine at restaurants fine, 
A tramp where he dines ain't clear. 
The rich sip wine from a glass that shines, 
While a tramp from a can drinks beer. 
Vhorus — Though his coat is ragged and torn, etc. 

The rich lie down on beds of down, 

A tramp on a cellar door. 
The rich are covered with satin spreads, 

\ tramp has no covering o'er. 
The rich they die, as die they will, 

A tramp, he dies when he must. 
The rich, the tramp, a box they fill. 

While both are turning to dust. 
Chorus — Tho' his coat is ragged and torn," etc. 



SI, THE TRAMP. 16 



Af, clone of Hong, all go up to the bar but Gip and Prince. 

Enter Si hi/ door E. 2d. E., look.-i around; Gip and Prince go up 
/oSi. 

Gip — "I say, Si, 'ere's a locket a bloke took off a chap's neck; 
I prigged it outer his pocket." (Si and Prince examine the 
locket. ) 

"Prince — "This is mine; it has the picture of my father and 
mother. It was taken from my neck last night while I was un- 
conscious." 

Si {with a start) — "Lad, what is your correct name?" 

Prince — "While my father was living, I remember being 
called Albert; but that was a long time ago." 

Si (hands the locket /n Prince) — "This is of great value to you; 
take good care of it."' 

Gip — "Der bloke an anuther gent 'greed ter rob Clayton's 
Bank; we can spile der game." 

Si — "Come, lads, we will take a turn down by the bank." 

(Exeunt Si, Gip and Prince bi/ door li. 2d. E.) 

Enter Anna Starr and Clara Mabell. 

Anna — ^"If them dudes don't le've me alone they'll get er 
mash dey won't like — See? I'll lay some er 'em on de shelf for 
kee^DS— See?" 

Clara — "Oh, Anna, you'r rough on the jays." 

Anna — "S'pose I do dance at the theatre an' look pleasant; 
dat's how I makes me living — See? An' s'pose me English is er 
missfit, I ain't an' dey shouldn't judge a book by the kiver — not 
dis book — See?" 

Clara — "Well let's practice the new dance we are to bring out." 

Anna — "Me feels more like jumping on them dudes' heads, but 
I'll go yer the'r dance all the same." (Ihe.g thruw off their wraps 
and dance) "On the Beach at Monterey. 

(Exeu}it Anna and Clara.) 

Scene 2 — Interior of James Clayton's Banking House. Time, 
seveii o'clock p. m. Clerk at work on his books; he gels down from 



SI, THE TRAMP. 17 

his sfool, ])ut books in the vault closes and locks {he door, draws 
screen gale mvai/ fi om froni of vault. 

2he vault is made of Jiiw vnre clotJt, jjainted ivhite, loHh euiiains 
inside that draw up ndien the doors are closed by the burglars on en- 
ieriinj the vault. Bunch lights are turned on, so that the interior of 
vault is plainly seen, while the outside of vault i^emains in plain 
view of the audience. 

[Time changes to twelve o'clock, midnight.) 

Evtfr SHiNbouEN and Hope by Vie door L. 3c? E.; they make a 
sharp examination of the office. 

Shinbcuen {in a wJiisjje?-] — "Jim, you keep watch while I un- 
lock the doer." {(roes to and unkcks the door to the vault.) "All 
right, Jim, come." 

They both inter and cluse the doors to vault behind them, and 
drill a hole in door of i-afe, insert a cartridge attached to fuse, fire 
the fuse, stip out of vault and fyo to the door L. 3d. E.; after the ex- 
plosion they go to and re-enter vault, gather up the money and put 
i-t in a bag. 

Enter Si, Gip and Prince by door L. Sd E. Gip and Peince 
stej) up) close to vault and remain there, while Si goes to front of 
vault. 

Shinbouen and Hope sfcj) out of van It and are confronted by Si; 
Shinbouen dropjs the bag, and raises a jimmy to strike; Si covers 
him with a pistol. For one moment they glare in each other's eyes. 

Si — "Drop your weapon; or I'll shoot." 

Shinbouen (cotvers, lowers his weapon , .shrinks back; looking over 
Si's shoulder, exclaims) — "Stop, don't hit him, Jim." 

Si turns his head, and Shinbouen makes a leap towards Si, 
strikes him a blow on the arm; Si drops the pistol. Shinbourn 
and Hope start for the door; Si catches hold of Hope, forces him 
back on a desk. Hope draivs a knife; Gip and Prince rush for- 
ward; Prince takes hold of Hope's arm; Gip piH'S up the pistol, 
places it at Hope's head. 

GiP — "Der yer gin in? Si, is yer hurt?" 

Cnrtain. 



SI, THE TRAMP. 18 



ACT IV. 

ScESE —reception room in James Clayton's ma/i.sio;/. Time, 
ten o'cloek a. m. Clayton seated reading jjc(pe7'. 

Enter Grace (bij door, R. 2d E., draim a ka><sock up to Clayton, 
seats herself) — "Now, guardie, you must tell me all about your 
trips and sights you have seen." 

Clayton lays down his paper and turns to Gkace. 

A knock at the door. 

Enter Maid hi/ door, L. 2d E., who hands Clayton a card. 

Clayton (reads card) — "Show the gentleman in." 

(Exit Maid, L. 2d E.) 
Enter Si bij door, L. 2d E. 

Clayton (partly rises out of Ids chair, with a look of surprise) — 
"Who, who! are 3'ou?" 

Si — "I hardly think you will know me in this guise; I will 
remove it;" [lakes o// liis iwejvoat, whiskers and n-iy) "No longer 
Si, the Tramp, but Detective Spinner, at your service. I have 
some friends of mine with me, that I brought here for a purpose; 
they are in the hall." 

Clayton (rises out of his chair and takes Spinner by the hand) — 
"Will you bring them inV I am confident your purpose is a 
good one." 

Spinner (stejjs to the dour L. 2d E., and returns with Mrs. Drake, 
GiP and Prince) — "These are the friends I mentioned." 

Clayton (bows) — "Your friends are welcome." 

Spinner places Mrs. Drake ctnd Gip to one side, out of the range 
of the door, and turns to Clayton. 

Clayton — "Where is the boy? I feel, you have been success- 
ful." 

Spinner — ^"Yes, I have been successful; I now return the 
locket you intrusted to my care." (Hands Clayton the l<)cket.) 
"This young man," (presenting Prince) "will furnish you with 
the duiDlicate, and certificate of his parents' marriage/' 



SI, THE TRAMP. 19 



Prince hands the locket and certificate to Clayton. 

Clayton {looks at them for a moment, takes Prince Ijy the hand, 
cjazes in his face, and m a tremulous voice) — "Yes, I see every 
feature of Albert in his face. Poor boy, there are brighter days 
in store for you." {To Grace) — "This is my grandson; his fu- 
ture home will be with us." (Grace takes Prince by the hand; 
they appear to be talking.) 

Enter Clarence {by door, L. '2d E., excited) — "I have come to 
inform you that the bank was entered by burglars last night, 
and the safe robbed of its contents." 

Clayton looks at Clarence in dismay. 

^pi'S'ner{ interrupting — To Clayton) — "I understood something 
of the kind was to happen; but arriving there just as the burg- 
lars were leaving, I attempted to arrest them. I captured one; 
the other escaped, leaving the money" {turning to Clarence) 
"and his confederates behind." 

Clarence — "What do you mean? Why do you address me?" 

Spinner — "Easy, young man; I will explain. You, having 
embezzled certain bonds left in the bank for safe-keeping, and 
also having become the associate of criminals, with a desperate 
chance of saving yourself, gave them the combination of the 
vault, trusting to their skill to do the rest. You then visited 
the home of your poor, wronged wife, choked her into insensi- 
bility, leaving her for dead, setting fire to the house, and carry- 
ing away the only proof of your marriage under your proper 
name — Allen Drake." 

Clarence {listening ivith dismay, but recovering himself as Spin- 
ner ceased — To Clayton and Grace) — "He lies; I am innocent! 
He has no proof!" {Turns to face Spinner, and Mrs. Drake stands 
before him.) "My God, my wife, alive! I am lost!" 

Gip {stejjs forward) — -''If 'ere isn't der gent I'erd j^uttin' up der 
job to rob der bank!" 

Clayton {as Clarfcnce asserts Ids innocence steps forward as if to 
take him by the hand, but as Clarence turns, sees ///..s wife, admits 
his guilt and is deyiou need by Gip, dratvs back) — "I trusted him. 
What villainy! Oh, the treachery!" 



SI, THE TRAMP. 20 

GukCE (in a wJiisper)—" H.is wUel Then what would be have 
made of me?" (3b Clarence, scornfully)- -'' And you are the man 
who seeks an honorable woman for his wife; a murderer — a thief! 
Your wife! Thank God, I have escaped such a fate!" {Turns 
with a sob to Clayton.) 

Clarence — "Curse the fate that balked m}^ plans." {Starls/or 
the door is coiifro)Ued by Gip, who points a pistol at /di)i.) 

Gip — "Pass in der checks, yer game is up." 

Clarence — [draws a knife and takes a step towards Gip who fires 
at him. Clarence stops, drops his knife, presses his hand to his 
Side, and sinks to the ground) — "It is ended, do your worst." 

Spinner — "You will be punished for your crimes; there is no 
escape." 

Clarence — "Yes I will." (Holds up his hand covered with blood.) 
— "S^e, I am beyond the surgeon's skill." 
Spinner — -"Curse it!" 

Clarence — "Ah, you are vexed now that you have caught me, 
but I shall escape your grasp." 

Mrs. Drake {stepping towards him) — "Oh, Allen, make your 
jjeace with God and man while there is time. I will send for a 
doctor." 

Clarence — "No doctor could save me. From man I have 
nothing to fear; with God — too — late! Is — there — a — world — 
above? Mother- — I " {Falls back dead.) 

Curtain. 



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